Aspectos formadores de uma concepção da performance das obras para viola da fase de maturidade de Claudio Santoro
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Data
2021-12-15
Autores
GOMES, Mariana Costa
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Universidade Estadual Paulista (Unesp)
Resumo
Esta tese de doutorado, realizada no âmbito da pesquisa artística, trata dos aspectos formadores de uma concepção da performance das obras para viola da fase de maturidade de Claudio Santoro. Dentre os objetivos, há: entender o que é a fase de maturidade e a síntese de estilos, identificar estes aspectos nas obras para viola da maturidade (Sonata Nº 2 para viola e piano, Fantasia Sul América, Duo para violino e viola, Concerto para viola e orquestra), verificar de que forma isso influencia nas minhas escolhas interpretativas e como posso mostrar o contexto histórico, social e musical na performance. O repertório citado é pouco tocado, portanto, a pesquisa e a performance dessas obras contribuem para a divulgação dessas músicas e para a ampliação de conhecimento acerca de Santoro e do repertório de sua fase de maturidade. Alguns autores foram relevantes para esse trabalho: Mendes, Mariz, Neves, Kater abordaram Santoro e seu contexto composicional; Eco e Pareyson trataram de questões estéticas e a relação entre obra, performance e público; Meyer delineou discussões referentes a estilo e significado em música; Cook e Rink abordaram a relação entre análise e performance; Leech-Wilkinson e Prior examinaram como o contorno musical (“musical shape”) impacta na recepção do público; Leech-Wilkinson demonstrou ainda que a performance está subordinada a aspectos normativos e ideológicos. Houve uso de documentos do Acervo Claudio Santoro (ACS), para compreender questões de ordem estética, política e composicional e que foram determinantes para as fases estilísticas. A fim de se compreender a fase da maturidade de Santoro, terminologias e conceitos como maturidade, síntese, fusão, ecletismo, versatilidade, estilo, obra aberta, formatividade e tópicas foram abordados. Após uma discussão relativa ao papel da análise na performance, houve uma proposta de se delinear aspectos musicais a partir de tópicas (por meio do trabalho de Fonseca), e de elementos característicos da linguagem composicional de Santoro, que são relevantes para se estabelecer a ideia de contorno musical (“musical shape”). Por fim, questões relativas à normatividade e ideologia na performance da música clássica ocidental contribuíram para a construção de uma concepção da performance das obras para viola da fase de maturidade de Santoro; essas ideias foram importantes para moldar o caráter e a expressividade na performance, que utilizou de ferramentas oriundas de autores como Flesch, Galamian, Fischer.
This doctoral thesis, carried out in the scope of artistic research, deals with the formative aspects of a performance conception of pieces for viola from the maturity phase of Claudio Santoro. Among the objectives are: understanding what is the maturity phase and the synthesis of styles, identifying those aspects in the pieces for viola from the maturity (Sonata Nº 2 for viola and piano, Fantasia Sul America, Duo for violin and viola, Concerto for viola and orchestra), verifying how all of that influences my interpretive choices and how I can show the historical, social and musical context. The repertoire covered in this research is rarely played, therefore, its research and performance contribute to their diffusion and expansion of knowledge about Santoro and the repertoire of his maturity phase. Some authors were relevant to this work: Mendes, Mariz, Neves, Kater have approached Santoro and its compositional context; Eco and Pareyson have dealt with aesthetic issues and the relationship between work, performance and audience; Meyer has outlined discussions regarding style and meaning in music; Cook and Rink have addressed the relationship between analytics and performance; Leech-Wilkinson and Prior have examined how musical shape impacts audience reception; Leech-Wilkinson has also demonstrated that performance is subordinated to normative and ideological aspects. Documents from the Claudio Santoro Collection (ACS) were used to understand aesthetic, political and compositional issues that were decisive for the stylistic phases. In order to understand Santoro's stage of maturity, terminologies and concepts such as maturity, synthesis, fusion, eclecticism, versatility, style, open work, formativity and topoi were addressed. After a discussion on the role of analysis in performance, there was a proposal to delineate musical aspects from topoi (through the work of Fonseca), and characteristic elements of Santoro's compositional language, which were relevant to establish the idea of musical shape. Finally, issues related to normativity and ideology in the performance of Western classical music contributed to create a conception of the performance of pieces for viola from Santoro’s maturity phase; those ideas were important to shape the character and expressiveness in the performance, which used tools from authors such as Flesch, Galamian, Fischer.
This doctoral thesis, carried out in the scope of artistic research, deals with the formative aspects of a performance conception of pieces for viola from the maturity phase of Claudio Santoro. Among the objectives are: understanding what is the maturity phase and the synthesis of styles, identifying those aspects in the pieces for viola from the maturity (Sonata Nº 2 for viola and piano, Fantasia Sul America, Duo for violin and viola, Concerto for viola and orchestra), verifying how all of that influences my interpretive choices and how I can show the historical, social and musical context. The repertoire covered in this research is rarely played, therefore, its research and performance contribute to their diffusion and expansion of knowledge about Santoro and the repertoire of his maturity phase. Some authors were relevant to this work: Mendes, Mariz, Neves, Kater have approached Santoro and its compositional context; Eco and Pareyson have dealt with aesthetic issues and the relationship between work, performance and audience; Meyer has outlined discussions regarding style and meaning in music; Cook and Rink have addressed the relationship between analytics and performance; Leech-Wilkinson and Prior have examined how musical shape impacts audience reception; Leech-Wilkinson has also demonstrated that performance is subordinated to normative and ideological aspects. Documents from the Claudio Santoro Collection (ACS) were used to understand aesthetic, political and compositional issues that were decisive for the stylistic phases. In order to understand Santoro's stage of maturity, terminologies and concepts such as maturity, synthesis, fusion, eclecticism, versatility, style, open work, formativity and topoi were addressed. After a discussion on the role of analysis in performance, there was a proposal to delineate musical aspects from topoi (through the work of Fonseca), and characteristic elements of Santoro's compositional language, which were relevant to establish the idea of musical shape. Finally, issues related to normativity and ideology in the performance of Western classical music contributed to create a conception of the performance of pieces for viola from Santoro’s maturity phase; those ideas were important to shape the character and expressiveness in the performance, which used tools from authors such as Flesch, Galamian, Fischer.
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Palavras-chave
Claudio Santoro, Viola, Performance, Interpretação, Música Execução, Performance Musical, Prática interpretativa, Música Interpretação, Musical Performance, Music Performance, Música Execução